I was dismayed, however, to not see many of these objects during my visit. The museum has listed the exhibition as a radical example of “decolonizing the museum practice” by conceiving of manual work as an art form. Analysed project The Glass House by Lina Bo Bardi was choosen trough discussion between the mentors. Both are covered in tiny square tiles in shades of rich cobalt and pale grey, and adorned with simple ceramic facilities and metal fixtures. The collection of quotidian objects is not unlike those the architect collected: ex-votos, wooden spoons, toys, rustic chairs, and textiles. Lina Bo Bardi’s joyful presence lands in Barcelona once again, this time through the exhibition Lina Bo Bardi Dibuja (Lina Bo Bardi Drawing), now open at the Fundació Joan Miró through May 26. She came with her husband, the art critic and collector Pietro Maria Bardi. The trash can was connected to a chute that sent discarded items below the house. Lina designs and builds her home, known as the Casa de Vidro (Glass House), in Morumbi, a new neighbourhood in São Paulo. While she carried her European heritage with her, she naturalized herself Brazilian, and famously said, “Brazil is the country I chose, and it is therefore twice my country. Dec 12, 2015 - Explore Toni Walker's board "Lina Bo Bardi" on Pinterest. SÃO PAULO — The drive up to Lina Bo Bardi’s Casa de Vidro, or Glass House, is steep. I imagine them in the back garden, by the stone oven with a brilliant green door, drinking lemon cocktails and maybe sitting on one of the steps of a handmade staircase, beneath the jackfruit trees. At the top of the stairs is a De Chirico mosaic, executed by Enrico Galassi. An outdoor display of the Bardi’s collected objects, including one of Lina Bo Bardi’s roadside chairs. To visit is to become fully immersed in Bo Bardi’s exquisite taste and rational, innovative approach to design. Become a member today », Lina Bo Bardi’s Glass House in Morumbi, São Paulo (all photos by the author for Hyperallergic unless otherwise noted). courtesy of the instituto lina bo e p. m. bardi. More disconcerting, however, has been the choice to install the institute’s administrative offices in the corner of the living room, where rows of tall bookshelves previously stood. The back facade, white stucco finished with emerald shutters, appears to be pulled from an entirely different home. The staircase leading to Lina Bo Bardi’s house. The earlier photos of the house reveal the eclectic jumble of objects, from brilliant art nouveau vases and earthenware pots from the northeast of Brazil, to a plastic toy car and Baroque sculpture of an angel. Bo Bardi maintained the topography of the area, and built the house on slim pilotis, which are blue and elegant, elevating the house and extending through the interior of the glass home. Follow her on Twitter and Instagram. The museum has also remounted its inaugural exhibition of 1969, curated by Bo Bardi, titled The Hand of the Brazilian People. In the mid-1980s, working with architects André Vainer and Marcelo Carvalho Ferraz, she designed an addition to the Glass House to serve as the Instituto Lina Bo e P.M. Bardi (originally the Instituto Quadrante), a place to house the Bardis’ archive and dedicated to the study and exhibition of Brazilian art and architecture. In one of her most transcendent and personal work, her own house, her first thoughts would be reflected, in an unprecedented combination of modernity and tradition, and whose originality has remained until today. Bo Bardi’s passion for, and even affinity with Brazilian culture was profound. Limited-Edition Prints by Leading Artists. More by Elisa Wouk Almino. It was also Bo Bardi and her husband’s home for some four decades. 1957, graphite and china ink on parchment paper, 20.2 x 40.4 cm, Courtesy Instituto Lina Bo e P. M. Bardi Completed in 1951 on the outskirts of Sao Paulo, the house was designed and built for herself and Pietro Maria Bardi. SESC Pompeia is a cultural centre in the east zone of São Paulo, designed by the architect Lina Bo Bardi, and opened in 1982. (photo by Letícia Wouk Almino), The various figurines in Lina Bo Bardi’s living room (2010) (photo by Letícia Wouk Almino). I was not born here, I looked for this place and decided to live here. As such, the paintings appear to float weightlessly, much like her home. Its exhibition space is a rationalist, light-filled structure set amidst verdant Catalan parkland designed by Miró’s close friend Josep Lluís Sert. The house, in fact, was a famous gathering place for artists and intellectuals, both local and international — among them were Alexander Calder, John Cage, and Roberto Rossellini. While the house, which was most recently conserved in 1993, is in decent condition, glass does occasionally break and the stone annexes and walls have cracked. She once proclaimed the need to “combat the modernistic voice which goes, ‘The old doesn’t work any more’,” calling it a “dangerous generalization.” The design and appliances of the house are certainly sophisticated and technologically advanced for their time, but there are old technologies, too, like the individually crafted blue tiles on the living room floor, and a special appreciation for the knick knacks of the past. The effect is only strengthened by a glassed-in, interior courtyard where a large tree grows. Another stark departure from the design of the times was the use of natural light and lamps in place of overhead lighting. See more ideas about modernist architects, glass house, architecture. The entire house, Carmona Tozzi says, is exemplary of Bo Bardi’s inventive use of materials. While the Italian-born architect Lina Bo Bardi carried her European heritage with her, her passion for, and even affinity with Brazilian culture was profound. Bo Bardi’s architecture and vision didn’t fall within a strict movement; she absorbed the modern sensibilities of her times, but without forgetting the past, or basic human needs for comfort. In the past year, the São Paulo Museum of Art (MASP), which Bo Bardi designed and where her husband served as the director, has restored some of her vision for what constitutes art and its more flexible display. The level of thoughtfulness and sense of place is on par with great buildings like the Royal Festival Hall on London’s Southbank. Today, the house serves as the headquarters of the late architect’s foundation, but it’s also something of a time capsule, filled with the original art and design from its heyday. For a time, the objects in the house were reconfigured to fill the gaps; my architect sister visited during this period, and when I compare my own photos to hers (I’ve included a few in this article) it becomes clear that the living room has since been greatly emptied. It was also Bo Bardi and her husband’s home for some four decades. It was hard to picture this when I visited, passing by the tall gated homes that are shielded from the surrounding slums — a sadly typical scenario in Brazil’s largest cities. One of these recent books is Lina Bo Bardi: Habitat, a companion to the traveling exhibition of the same name that was jointly organized by Museu de Arte de São Paulo (MASP), Museum of Contemporary Art Chicago, and Museuo Jumex in Mexico City. (Unfortunately, COVID-19 affected the exhibition, including its cancellation in Chicago. Born in Rome, Bo Bardi escaped Fascist Italy for Brazil in 1946, at the age of 32. Courtesy of Instituto Lina Bo e P.M. Bardi archive. “As such, many of the artworks, furniture, and carpets went, leaving the living room with only a part of its decoration,” Anelli said. Paulista, 1578 – Bela Vista, São Paulo, Brazil), through January 22, 2017. Located in the wealthy Morumbi neighborhood of São Paulo, the house was once surrounded by the remnants of the Atlantic Forest. Photo by Marcelo Ferraz, 1991. The largely artificial garden perhaps poses the most serious challenges. Her style evolved over time, moving away from modernism into the realm of the organic later in her career. In 1950s Brazil, this type of tile was commonly used on the facades of buildings, but to install them on the floor, as Bo Bardi did, was unprecedented. The pylons of the Glass House blend with tree trunks. In Salvador, Bo Bardi resisted gentrifying the historic centre into a 'Disneyfied' tourist zone. Lina Bo Bardi and Pietro Maria Bardi – who were born in Italy and moved to Brazil together in 1946 – lived in Glass House for 40 years. Visits to Lina Bo Bardi’s Casa de Vidro (Glass House) (Rua General Almério de Moura, 200, São Paulo, Brazil) are by appointment only. In 1951, Bo Bardi became a Brazilian citizen, started to teach industrial design at the MASP, and created one of her landmark designs: the Casa de Vidro (Glass House), a home for her and her husband on a 7,000-square-meter lot that had formerly been a tea farm on the side of a hill in the Morumbi neighborhood of São Paulo. Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. The space is interwoven with a rich shade of emerald green, which appears on some walls and cabinets, and is a stark contrast to white tile, beige cabinets topped by silver steel countertops, and a rotund General Electric refrigerator. Lina Bo Bardi, born Achillina Bo, was an Italian-born Brazilian modernist architect. The ultimate goal of the institute is to transform the Glass House into a museum. It will support an 18-month technical evaluation of the house and its tropical environs. After attending architecture school in her native Rome, she moved to Milan and worked alongside architects and designers like Carlo Pagani. Lina Bo Bardi House (Glass House) Location: Morumbi, São Paulo, Brazil Date: 1950-1951 Architect: Lina Bo Bardi Residents: Lina Bo Bardi and her husband Pietro Bardi Biography of Lina: -Born December 5, 1914 in Rome Italy -Died March 20, 1992 in Sao Paul, Brazil “With everything that you see, simplicity was the ultimate sophistication.”. While living in Rio de Janeiro, Pietro was invited to establish an art museum, what would become Museu de Arte de São Paulo (MASP), which led the couple to the city. The site is one of the world’s great democratic spaces in a city often lacking in them. Elisa Wouk Almino is a senior editor at Hyperallergic. I chose my country.”, The kitchen, with steel surfaces that are easy to clean. She is based in Los Angeles. lina bo bardi, sesc pompeia, deck, photographer unknown. Lina Bo Bardi’s living room in 2010; the set-up is not Bo Bardi’s original, since many of the objects are now in her husband’s family possession after his death. Artist Madelon Vriesendorp has conducted workshops at Solar do Unhão and combined objects made there with others of her own and artefacts by Brazilian craftspeople. But her architecture feels less cool and removed than that of her male peers; the roof subtly curves, and the rooms welcome and adapt to the body. View of the Glass House from an inner courtyard. In 1951 Bo Bardi built a glass house, for herself and her husband, raised on stilts above a sloping site on the edge of the city. This idea is embodied in full in two solitary bathrooms. Part of the joy in visiting an artist’s home is in seeing how their vision manifested in the everyday. In an essay about the house three years after building it, she writes: This residence represents an attempt to arrive at a communion between nature and the natural order of things; I look to respect this natural order, with clarity, and never liked the closed house that turns away from the thunderstorm and the rain, fearful of all men. Photo by Henrique Luz. Lina Bo Bardi’s living room in 2010 (detail) (photo by Letícia Wouk Almino). With its harmonies of light and geometry, density and apparent weightlessness, Lina Bo Bardi’s Casa de Vidro (Glass House) in Morumbi, São Paulo, is one of the most beautiful of all architect’s homes. Each of the rooms is populated by an eclectic mix of furniture and art—much of the wall space is occupied by the collection of Italian, The varying group of chairs, tables, desks, and lamps trace the course of the designer’s career, growing ever more minimal over time. lina bo bardi in kamakura, japan, october 1978 courtesy of the instituto lina bo e p. m. bardi Lina Bo Bardi’s Glass House in Morumbi, São Paulo (all photos by the author for Hyperallergic unless otherwise noted) SÃO PAULO — The drive up to Lina Bo Bardi ’s Casa de Vidro, or Glass House… Lina Bo Bardi considered every detail. Upon arriving at Casa de Vidro—reached by navigating a series of winding roads by car, and a steep driveway encrusted with shards of colored tiles—the main volume of the house looms overhead, elevated from the earth on columns. Originally the first house in the area, the volume is hidden in the remnants of the Mata Atlantica rainforest. Inspired by Brazilian culture, she sought to create a space that would enmesh domestic living with the natural world, to engender a visible and experiential harmony between man and nature. “This was completely unimaginable at the time,” Carmona Tozzi adds. The ample-sized kitchen further serves to display the designer’s affinity for simple, utilitarian spaces, and evidences her own passion for cooking. During their … [Photo by Nelson Kon] Unhão Estate (MAMB and Museum of Popular Art), Salvador, 1963, general view of added staircase. Completed in 1950 by Brazilian modernist architect Lina Bo Bardi, Casa de Vidro in Sao Paulo is considered a modern architecture in Brazil. “Everything was in vogue at the time, but she used it in a different way,” she says, gesturing to the pale blue stone tiles that cover the main room’s floor. In 1946, Bo Bardi married art critic Pietro Maria Bardi, and during travels to South America that same year, they decided to settle in Brazil. Built in 1951, the house is recognized as one of the Italian architect’s most notable works, and a pivotal contribution to the golden age of Brazilian Modernism. The main space is almost entirely enclosed by windows, giving visitors the feeling of being inside an ultramodern treehouse. Carmona Tozzi stresses that even though the house was built during a flourishing moment for Brazilian design at the time, Casa de Vidro was unexpected. This becomes especially clear in the kitchen of her home, where each detail was intended to reduce the burden of labor: the sink’s steel surfaces are easy to clean; the floor is a black tile; the trash travelled through a chute; there was an imported dishwasher; and the doorway is generously wide, to make carrying trays full of food easier. Mar 8, 2019 - Explore Irina Miron's board "Lina Bo Bardi" on Pinterest. So this house is even more than architecture – it is actually a timeless representation of the lives of Lina Bo and Pietro Maria Bardi. 1 She conceived of the museum as a place for community, where art and craft intermingled, in her role as MAM-BA's first director from 1960 to 1964, the year a military coup reduced Brazil, Bo Bardi wrote, to a near 20-year silence. A prolific architect and designer, she devoted her working life, most of it spent in Brazil, to promoting the social and cultural potential of architecture and design. Lina Bo Bardi - A Pioneer of Modern Architecture 5 minutes Modern Brazilian architecture wouldn't be what it is today without the fantastic work of Lina Bo Bardi, who created some of the most incredible buildings the world has ever seen. (Later, Bo Bardi would design MASP’s second, current home.) (Photo: Instituto Lina Bo e P.M. Bardi, The Tale of Tomorrow) The Hand of the Brazilian People continues at the São Paulo Museum of Art (MASP) (Av. When Bo Bardi built her house, in 1950, it was practically the only one; armadillo and wild cats still roamed the grounds. “She built this in the middle of nowhere, far from the city, using techniques and materials that were available at the time but using them in a completely different way. Already a practicing architect, the very first thing she built in the foreign country was her home, where she and her husband resided for 40 years. Courtesy of Instituto Lina Bo e P.M. Bardi archive. Lina Bo Bardi (December 4, 1914 – March 20, 1992) was one of the most important and expressive architects of 20th century Brazilian architecture. This year, the institute did auspiciously receive a grant of $195,000 from the Getty Foundation for conserving modern architecture. The house was perhaps too exposed to the elements, as Bo Bardi and her husband shivered from the cold, and often kept the fireplace lit. “When they moved here, there was nothing,” says Lissa Carmona Tozzi, owner of. According to the director of the Lina Bo and P.M. Bardi Institute, Renato Anelli, when Pietro died seven years after Lina, in 1999, the heirs of his first marriage demanded their share of their inheritance, and made an agreement with the institute. From this end of the house, its architecture has lost any resemblance to glassy modernism and mimics Brazilian colonial architecture with its handmade shutters. During her lifetime it was difficult to be accepted among the local Brazi Lina and Pietro Maria Bardi create and run the Industrial Design Course at the Institute of Contemporary Art (IAC). )The book takes its name from Habitat: Revista das … According to Anelli, they are still deliberating whether to build an annex for this purpose. [Photo by Nelson Kon] Beyond this, a wall hung with paintings gives way to the kitchen and, to the right, a hallway that leads to a bedroom and two bathrooms. While she studied under radical Italian architects, she quickly became intrigued with Brazilian vernacular design and how it could influence a modern Brazilian architecture. And while we can no longer see a faithful representation of what the interior rooms of Bo Bardi’s house once were, at least through a few photographs and what remains, we can imagine the person behind the glass. The design of the Glass House is undeniably influenced by the open and pared-down architecture of the European modernists Le Corbusier and Mies van der Rohe; Bo Bardi kept Le Corbusier’s famous black chaise longue in her living room. No one believed it,” she says. In that first room, one begins to understand the impressive extent to which Bo Bardi designed everything—from the seamless way the windows slide open, to sleek black doorknobs shaped like small animal horns. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York. In the lush São Paulo suburb of Morumbi, a rainforest inhabited by monkeys and toucans cradles an iconic, Modernist glass house: Built in 1951, the house is recognized as one of the Italian architect’s most notable works, and a pivotal contribution to the golden age of Brazilian Modernism. Though still somewhat overlooked by the modern design cognoscenti, Bo Bardi is revered by many modernists for both her architecture and bold furniture designs. Casa de Vidro, particularly, exemplifies the Bo Bardi couple’s keen regard for preservation through their efforts that led, while they were still alive in their later years, to cultural heritage listing (1987) and the creation of the non-profit cultural association Instituto Bardi (1990), with headquarters inside the house itself. Bo Bardi loved to cook, especially Brazilian dishes, like moqueca (a typical northeastern fish stew) and carne de sol (dried, salted meat). Portrait of Lina Bo Bardi (1914–92) by Juan Esteves. This will include a 3D laser scan of the area, led by the conservation lab at the University of Ferrara in Italy. Lina Bo Bardi: Together pays tribute to Lina’s capacity to engage with every facet of culture and to see the potential in all manner of people. Even in her architecture, Bo Bardi’s approach was not solely aesthetic, but practical. Lina Bo Bardi became increasingly disillusioned with functionalism at the height of her professional career, and after visiting the much anticipated completion of the new capital, Brasilia, in 1956 (Ferraz, 1993, Bo Bardi, 2012). After 20 years, the museum has rehung the paintings in its main gallery, which range from European Medieval to today, as Bo Bardi had them: not on walls, but in the middle of the room, anchored in sheets of glass that lock into cement pedestals. Though supremely elegant, the rooms feel somewhat ordinary today, only emphasizing how ahead of her time Bo Bardi was. As arts communities around the world experience a time of challenge and change, accessible, independent reporting on these developments is more important than ever. The front door gives way to the main room, an open space where the couple would host the city’s artists, politicians, and intellectuals. A gleaming glass and concrete box, it reflects the surrounding trees and sunlight. I had heard of Bo Bardi’s vast and curious collection of jars, baskets, saints, tin foil lamps, saddlery objects, buckets, dolls, and clay figurines that spilled over the tops of tables and armoires, or even were arranged on the floor, neatly and purposefully. The design of her own bed or a national museum were approached with the same unwavering intensity. Upon moving to São Paulo, they purchased a 7,000-square-meter parcel of land to build their future home, Casa de Vidro, Bo Bardi’s first work in Brazil. Lina Bo Bardi ’s Casa de Vidro. Inside, the columns blend with the tree trunks that act like another curtain to the outside world. “I prefer that we assume this void,” Anelli said. The house was “a center of the intelligentsia,” says Carmona Tozzi. Casey Lesser is Artsy’s Lead Editor, Contemporary Art and Creativity. Each object and fixture (even kitchen utensils) was the result of her decisions and creativity. Bardi and Lina. The couple’s musical tastes were equally diverse, with found vinyl records by Duke Ellington and the Brazilian samba and bossa nova musician Dorival Caymmi. It is here that Together picks up Bo Bardi’s story, with Ioana Marinescu’s photographs of her Casa de Vidro (Glass House), the first built work Bo Bardi realized. Lina Bo Bardi’s radical approach to the design of people-friendly buildings in Brazil is a major contribution to modern architecture, Jason Farago argues. “It’s very big, and aggressive toward the house,” Anelli said. The Bardis brought their extensive library and art collection with them from Italy, and once in Brazil, they continued to amass objects, particularly popular art from the northeastern state of Bahia, where Lina Bo Bardi lived and worked for a few years as the director of the Museum of Modern Art. See more ideas about Glass house, Design, Interior. Installation view of the rehang of the main gallery at the São Paulo Museum of Art (MASP), as Lina Bo Bardi originally had it (2016), Installation view of The Hand of the Brazilian People at the São Paulo Museum of Art (MASP). A door at the far end leads to a backyard that bleeds into the surrounding forest, with outdoor ovens and gardens where Bo Bardi would grow spices and herbs. The blue pylons elegantly extend through the interior of the institute is to become fully immersed in Bardi! Two iconic buildings in the wealthy Morumbi neighborhood of São Paulo, columns. 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